After the Film Fest Sun Sets

The Sixth Annual New Orleans International Human Rights Film Festival came to a close last night. It is coined as the intersection of art + social justice. This year, organizers dubbed the festival’s front name “Patois” as a means of embodying the various languages and perspectives and meeting of those cultures throughout the 10 day event.

It once again introduced me to films (and people) I would otherwise never have seen (until the DVD release) in this rather ghost town for film known as New Orleans. Of course, I missed several films that ended up winning awards and I’ll be catching up with at a later date: William Kunstler: Disturbing the Universe, St. Joe (to be a doc feature: “Land of Opportunity”), Robot + Girl (by a friend of mine!), Some Place Like Home: the fight against gentrification in downtown Brooklyn (dir. by Families United for Racial and Economic Equality – FUREE)

I managed to see:

Homeless Power (short doc)
Katrina: man made disaster (feature doc)
Medicine for Melancholy (narrative feature)
Under the Bombs (narrative feature)
Made in L.A. (doc feature)
A Day in Palestine (narrative animated short)
Crips & Bloods: made in America (doc feature)
Hunger (narrative feature)

Exodus (narrative feature) presented some challenges as a viewer – a flat cliched script and meaningless direction – which is why I walked out, a first, after 30 minutes. The only potential going for it were the sets, which had the feel and ambition of “Children of Men,” but knowingly had to work with a severely smaller budget. I’m wondering how much of a coincidence it was that one of the actors was the pregnant woman from “Children of Men.”

Corazon del Tiempo (Heart of Time, narrative feature)
Nerakhoon (The Betrayal, doc feature)
The House that Herman Built (doc short, will be a feature)

Justice for All (doc feature) builds a compelling argument for the complete overhaul of the juvenile “justice” criminal system in the United States by meticulously detailing six or seven egregious cases in different states. For instance, one seventeen year old was sentenced to life in prison without parole in Texas for marijuana possession because a judge retained complete power over the sentencing. He was pardoned by the governor after a long campaign to win his release. However, the system took 16 years of his life. The filmmakers even visit the U.K. to see the rehabilitation programs available to youth as a method of introducing new ideas into our system. I liked the film as a historian likes primary documents–for new facts and stories that make a convincing case for change. The filmmakers inserted themselves too much for me, especially in the editorializing and occasional unprofessional phrases in the narration. But it would be worthy to watch for an educational purpose or in an educational setting.

Cajun New Wave (doc short) is a brief insight into the traditions of Cajun music as talked about by its rising generation of twenty-something musicians. Often hand-held and with sound and visual hiccups, this film might be better as a printed translation of the interviews conducted and released with a CD of the varying worthy musicians such as Pine Leaf Boys, Lost Bayou Ramblers, Beth Patterson, Amanda Shaw, etc.

Crips & Bloods, Hunger, Nerakhoon and Under the Bombs were my top picks from what I saw.

further comments to come…

UPDATE: Here is the lovely ROBOT+GIRL short by Erin Wilson that won the Audience Choice Award.

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Published in: on April 6, 2009 at 6:43 pm  Leave a Comment  
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